Looking and Listening

PINTOS UPCOMING PROJECT

SHIFTING GROUND

OUTRO CHÃO

RESIDENCY

IOWA CERAMIC CENTER

AND GLASS STUDIO

JULY 14 - 27, 2019

NEW BO INSTALLATION

CEDAR RAPIDS, IOWA USA

JULY 27, 2019

EXHIBITION

JANALYN HANSON WHITE GALLERY

MOUNT MERCY UNIVERSITY

CEDAR RAPIDS, IOWA USA

SEPTEMBER 2019

RESIDENCY

ÉVORA, PORTUGAL

SUMMER 2020

EXHIBITION

ÉVORA MUSEUM

FALL 2020

TITLE

Strategies of Belonging A Social Art Practice

EDITORS

António Gorgel Pinto Jane Gilmor

Paula Reaes Pinto

DESIGN

ACKNOWLEDGMENTS

The artists would like to thank the Iowa Ceramic Center and Glass Studio (ICCGS), the City of Cedar Rapids Iowa Visual Arts Commis-sion, Legions Arts/CSPS, and Jana-lyn Hanson White Gallery, Mount Mercy University (all in Cedar Rap-ids, Iowa), as well as to the Art His-tory and Artistic Research Centre (CHAIA) of the University of Évora (Portugal).

Thank you also to Rodney Bradley, David Van Allen, Jonathan Berger, and Dan Miller for graphic and ex-hibition design and to Jane Gilmor, exhibition curator, Ellen Kleckner, Director of ICCGS, and F. John Her-bert, Director, Legion Arts.

STRATEGIES

OF BELONGING

A SOCIAL ART PRACTICE

ANTÓNIO GORGEL PINTO

PAULA REAES PINTO

CSPS HALL

CEDAR RAPIDS

APRIL 4 - 28

2019

CLOSING RECEPTION

APRIL 25, 5 - 7PM

CURATOR’S LECTURE

JANE GILMOR

6 PM

PREFACE

Executive Artistic Director Legion Arts

Legion Arts moved into CSPS Hall in 1992, and ever since we’ve been pre-occupied with two primary themes: works of art that display originality and innovation, and artists who en-gage the community in a positive, if unconventional manner.

When the two come together, the results can be powerful, so when Jane Gilmor approached us about the upcoming residency of Paula Reaes Pinto and António Gorgel Pinto, we proposed a gallery exhibit that would not only introduce audi-ences to the team’s previous work, but also explore the historical and conceptual underpinnings of so-cially engaged art. We are delighted to present the results of that con-versation.

STRATEGIES OF

BELONGING

Jane Gilmor Exhibition Curator

Artist, Professor Emeritus Mount Mercy University

August 2003. Windows down, 103º Fahrenheit, Fado music blasting. I’m driving across the Alentejo plain in my little rented Fiat. Past the Roma encampment, past the tourist mobile home court, past the Roman wall. I’m headed to Leões, an old pasta factory, now home to the University of Évora Art Department. On a Fulbright place-ment, I’d landed in Lisbon only 24 hours earlier, but soon I’d be trav-eling daily from my convent room, built on the ruins of a Renaissance farm, to the campus where I would teach and partake in discussions on contemporary art, feminism, and the notion of collaborative art practices designed to give voice to the cultural outsider. Nights I’d be spending with Paula, Antonio, and Teresa, in the little Windmill res-taurant on the edge of town, talk-ing until clostalk-ing time.

As what have been called “art-ist-citizens,” Paula and Antonio work with disenfranchised Por-tuguese communities, both urban and rural, addressing issues like displacement, habitat disintegra-tion and cultural deterioradisintegra-tion. They subscribe to a notion of art that crosses diverse disciplines, as they push to create new models of community life, or ways of living, that support long-term, sustaina-ble communities, worldviews, and

practices. Collectivity and collab-oration are important features of their process. They believe that empathy, dialog and imagination - artistic strategies, essentially - can give voice to the outsider, connect people to each other, and support the socially signiicant values that underlie economic and cultural sustainability.

Now, ifteen years after we met, Paula Reaes Pinto and António Gorgel Pinto are bringing to Iowa their most recent project, Shifting Ground – Outro Chão, which will engage East African immigrants living in Cedar Rapids and in Évora, Portugal. In anticipation of their upcoming Iowa residency, Legion Arts is hosting this mid-career retrospective of the duo’s innova-tive participatory practice.

Paula Pinto’s early studio practice was rooted in the materiality of 60s and 70s earthworks and a min-imal aesthetic. I vividly remember a component of Paula’s beginning sculpture class, in which she as-signed students to work with area artisans, tombstone carvers in one village, to a family who made tools for extracting cork in anoth-er. Students learned the materials and processes associated with that speciic location, its people and its natural resources.

Simultaneously, Paula’s own prac-tice began to focus on labor and its connection to place. In 2001 she in-itiated a community-based action in the small salt-mining village of Castro Marim on the Atlantic coast. This pivotal work, Salt Paths, strove to uncover the vulnerabili-ties of labor in a globalized world, and to facilitate cross-generation-al learning and making. The artists

began with rigorous study and vid-eo documentation of the gvid-eophysi- geophysi-cal and socio-cultural nature of the site. They next initiated an ongoing dialog with people about their lives, eventually proposing several large collaborative outdoor salt sculp-tures referencing the communi-ty’s past and present. The forms of these large outdoor sculptures were a response to the landscape, to long abandoned tidal mills, and to the work habits, memories, and stories of the salt farmers, crafts-men, and other workers. The inal product brought the entire com-munity together to both celebrate and plan for the future.

Given the social problems that oc-cur in isolated immigrant neigh-borhoods, António’s job teaching art in a barrio on the outskirts of Lisbon brought a new challenge. He and Paula set out to conigure alternative approaches to teach-ing. The projects Kowork, Net-skola, and Mais Sul each extended their practice to disenfranchised urban neighborhoods, as they set out to increase the community’s awareness of its own assets. In each of these yearlong projects, the participants determined their neighborhood needs and devel-oped the skills necessary to im-plement solutions. In Kowork, for example, municipal wood benches made from repurposed shipping pallets were designed and built by the participants. The IKEA-like di-rections were then distributed to other neighborhoods and circulat-ed online via a web link stampcirculat-ed on the back of the inished benches. Other projects have included a study of the threatened sardine canning industry, Ramiications, and a collaborative-design project

in Azuruja, a rural cork-producing village, Are We Human?. In Cecela Velha, they orchestrated an un-folding group narrative about the multiple realities, burdens and beauties of an ordinary day’s work for a ishing community in south-ern Portugal.

As the Pintos demonstrate in their work, art can serve as agency for collective memory and imagina-tion. Through dialog-based, co-operative, and socially engaged projects, they give a voice to dis-enfranchised communities, while encouraging practical change. Their process is, as critic Nato Thompson (2015) might say, “… a mess worth making”.

Thompson, Nato. Seeing Power: Art and Activism in the Twenty-irst Century. New York: Melville House, 2015.

RAMIFICATION

Ramiication is a work about the sardine industry in Portugal, and, in particular, about the Ramirez canning factory, the oldest produc-er and exportproduc-er of presproduc-erved foods in Portugal and Europe (est. 1853). The ilm traces the processes in-volved in taking a sardine from the sea through the factory. The video, which was initially presented side by side with a sculpture constructed of the printed tin used to create sar-dine cans, also looks at the social, economic, environmental, politi-cal, and cultural efects of the sar-dine industry on Portugal, and at the forces at work today to undermine this long-standing element of Por-tuguese life.

2008

CREATIVITY,

COLLABORATION

AND CITIZENSHIP

António Gorgel Pinto Transmedia artist, Educator, Researcher

“Thus did Epimetheus, who, not being very wise, forgot that he had distributed among the brute animals all the qualities which he had to give - and when he came to man, who was still unprovid-ed for, he was terribly perplexunprovid-ed. Now while he was in this perplex-ity, Prometheus came to inspect the distribution, and he found that the other animals were suita-bly furnished, but that man alone was naked and shoeless, and had neither bed nor arms of defense.” (Plato 380 B.C.E)

In Plato’s Protagoras, after the gods used earth and ire to model the set of Animalia’s beings, Prometheus and Epimetheus then organized abilities and attributed them to these new living beings. According to the myth, Epimetheus tried to distinguish all irrational animals by giving them unique character-istics, forgetting to designate the qualities of the human being, who remained without any protective physical advantages. To ensure the survival of the human being, Pro-metheus then granted him ire and the artistic wisdom of Hephaestus and Athena. In this way, through creativity and technical innova-tion, the human being constructs a means for his survival. Later on, given the diiculty of living among wild animals, cities were creat-ed and citizenship was developcreat-ed through respect and justice, which Zeus ordered Hermes to distribute among humans to prevent them from destroying one another (Pla-to 380 B.C.E).

The myth of Prometheus reveals a fundamental relationship between human beings and what they create.

Throughout the millennia humans have created a succession of di-verse apparatus and techniques to help them survive. Vengeon (2009) states that there is no separation between the human being and his creations because the transforma-tions generated by these creatransforma-tions reveal his way of thinking. In this sense everything that is creat-ed reveals the human nature, no matter the area of knowledge. This created world reveals the form of human thinking and guides action, but it is the process of social inter-action among thinking people that develops meaning.

Strategies of Belonging gathers selections from the work of our socially engaged, participatory and transdisciplinary art practice working with vulnerable urban and rural communities in Portu-gal. At the center of our practice are aesthetic and civic questions that become a way of developing citizenship and the socio-cultur-al sustainability of speciic at-risk populations. Our community art practice has its roots in artistic knowledge while also participating in society’s public life by ofering possible solutions to social prob-lems.

To achieve this we’ve develop a methodology where creative edu-cational and dialog-based activ-ities are generated within and in collaboration with each commu-nity we work with. This approach is informed not just by artistic and technical knowledge, but also by multiple other forms of know-how (social, cultural, anthropologi-cal). The community participants are the main reason for this kind of art practice, so their input in the development of each project is

primary. The point is to improve their sociocultural situation. We begin with our eclectic methods as artists, but the project develops primarily through their contribu-tions and participation. Their in-volvement in this creative, social action then projects an image of them as citizens of value in socie-ty. Their own sense of self worth is enhanced based on their ability to make creative socio-cultural con-tributions. This synergy is repeat-ed when an audience encounters the artwork – when someone sees a uniquely designed new bench in Barrio Cova da Maura and sits on it. Strategies of Belonging is not about artworks centered on one artist’s creations but rather about socially engaged works of plural dimen-sions that extend and combine several disciplines (art, design, so-ciology, anthropology, computer technology) in order to give a voice to a devalued neighborhood. The artists, the participants and their community, as well as the audi-ences who encounter each project, are part of the same tissue through which this social art action exists and has impact.

Plato, 380 B.C.E. Protagoras. Translated by Benjamin Jowett. [WWW Document], URL http://classics.mit.edu/Plato/protagoras. html (accessed 19.01.26)

Vengeon, F., 2009. Defesa de uma Antropo-logia Filosóica da Máquina. Remate de Males 29 n.1, 103–108.

LOOKING AND

LISTENING

Paula Reaes Pinto Transmedia artist,

Professor, University of Évora Researcher

Strategies of Belonging brings together a group of art actions marked by a practice of social in-volvement with rural Portuguese villages and Lisbon’s barrio neigh-borhoods. The common denomin-ator among these populations is the devalued nature of the work they do and the discrimination they en-dure as a result. In the rural loca-tions like Castro Marim and Cacela Velha, work is related to the land and natural resources, whereas in the urban settings those who are employed work in the service in-dustry. In both situations people must work more than one job to remain above the poverty line. All of the communities represen-ted in this exhibit also live on the periphery both geographically, in relation to the large urban centers, and in terms of the societal exclu-sion they experience. Globalization values societies according to their economic and political power, producing dominant and domin-ated countries. By accentuating the diference between them, the structure of minority communit-ies is weakened or destroyed when, in fact, it could be reassessed sus-tainably using an alternate global perspective, one of balance and respect for diference. In turn, this approach could stimulate a proact-ive dynamic among dproact-iverse groups. To challenge the stigma of an un-der valued life and job, our in-teraction strategy centers on the concept of culture. The early ety-mological meaning of the word “culture” comes from the Latin term “colere”, which means the act of planting and developing ag-ricultural activities, transforming the soil so that it becomes product-ive. Later the Latin words “cultura/

culturae” came to mean an action of care, or to cultivate, or cultiv-ating mind and knowledge. More recently the term became associ-ated with artistic and/or technical developments that result from this cultivated. We use the term in its several forms but are primar-ily interested in culture as an ac-tion of care, an acac-tion of sharing knowledge and developing cultural activities – of transforming a place through the voices of its residents. Our approach to interaction and collaboration with each com-munity is empathetic and oriented by an aesthetic paradigm of listen-ing and discussion that seeks to circumvent formal power struc-tures. The relational character of our meetings is evidenced in our recordings of participant life stor-ies. The stories and unique culture of those living in a speciic place reveal a varied and rich existence. In the Cacela Velha project, for ex-ample, we try to understand each other through non-hierarchical knowledge that values the sharing of the each collaborator’s experi-ences. Documenting these stories focuses on a community’s social diversity and anchors the project in lived experiences rather than in abstract structures.

Our initial conversation-based interactions also help us gain the conidence of those involved. In rural settings like the salt village of Castro Marim, we visited work sites, observing and talking with workers about their jobs. In urban contexts, we sometimes met in participants’ homes, talking with them about their past and what they most need and wish for. We also met in collective spaces, with multiple generations, where ideas

were developed through shared creative actions chosen by the par-ticipants. Through all of this, dif-ferences gradually fade and we are able to create a place of intimacy between the locals and the artists. This reciprocal learning situation creates a channel for engagement in the next stage of a project - the co-creation of symbolic and utilit-arian objects.

The community-based artistic practices presented in Strategies of Belonging are interactions with the local people of a speciic place in order to make visible their cultural values in relation to place, com-munity and geographical context. Here culture not only includes her-itage and the arts, but also social history, labor, and ethical values. Our projects give space to social development and transformation, while fostering mutual learning. Most importantly, however, we hope to give a voice to those who have none.

SALT PATHS

Castro Marim is a small ishing vil-lage in the Algarve region of south-ern Portugal where life revolves around traditional salt mining. Life there is inextricably linked to the land and the sea, but their way of living has become marginalized in the face of globalization.

We irst got to know the site through multi-sensorial experience, direct observation, and a photo/video sur-vey. This process revealed the ways in which human beings interact with the environment and stimulated our creative process for the remainder of the project.

Our next step was an ongoing di-alog with the locals after which we proposed several large salt sculp-tures. The sculptural forms were a response to the landscape, memo-ries of work habits and long aban-doned tidal mills, as well as the sto-ries from salt farmers, craftsmen, and nature reserve workers. In the inal construction phase every gen-eration got involved in creating two large platforms in the lagoon that held massive mounds of salt, and a large windmill form and salt wall both referencing nearby ruins. We returned the next year to assist villagers in repairing the weath-ered salt mounds. This initiative gave visibility to those whose lives depend on their local natural re-sources. Their way of life is a form of knowledge the larger society can not aford to lose.

2003

Participatory art, sculpture, video, photography

ARTISTIC INTERACTIONS

WITH CACELA VELHA

Cacela Velha, Portugal is a small ishing village on the Ria Formosa in the Algarve region of southern Portugal. For generations Cacela Velha’s economic and socio-cultur-al life has revolved around ishing, making artisanal ishing tools, and harvesting the catch.

After a detailed study and video doc-umentation of the geophysical, bio-logical and socio-cultural nature of the site, we spent time talking with isherman, clam harvesters, and the village women who fabricate tools. Eventually we asked a diverse local group to participate in a workshop where each picked an important ob-ject from their life and shared sto-ries related to it.

A inal participatory event/exhibi-tion included lightbox images with audio, projected video documen-tations, a video animation by the children, and two large sculptures created in collaboration with the vil-lagers. One sculpture included cast metal ishing line sinkers loating in a large metal armature. Another stood in the river and used ishing net and a steel skeleton to reference ish containment. This inal event brought the community and the art-ists together in mutual respect.

2009

Participatory art, sculpture, video, audio, stop motion animation, photography

NETSKOLA

António Gorgel Pinto in

collaboration with neighborhood residents

Netskola was a project developed in a hidden, illegally constructed neighborhood in Amadora on the outskirts of Lisbon. Early on we col-laborated with social psychologists and social workers in developing the project. This is an immigrant com-munity from Cape Verde or other African Portuguese speaking coun-tries. A primary goal was to explore local multiculturality through a sharing of knowledge and prefer-ences related to their African cul-tural heritages.

We irst held small group work-shops with seniors to develop com-puter literacy and Portuguese lan-guage skills. This allowed them to share life stories on a website for the project. With the youth we made pinhole cameras with which they documented their neighborhood. Later they learned to digitally and creatively manipulate their images. Computer skills training is import-ant in allowing this at-risk group greater social inclusion.

Netskola gives us a closer look at what characterizes this and other immigrant neighborhoods, helping to deconstruct the usual stereotypes and stigmas assigned to them.

2013-2015

Participatory art, ICT and pinhole photo workshops, video with sound, video stills

KOWORK

António Gorgel Pinto in collaboration with Delano Rodrigues, Inês Veiga, Natália Plentz and neighborhood residents Kowork was a co-design initiative developed in the illegally construct-ed Cape Verdean neighborhood of Amadora, on the outskirts of Lis-bon. A local association, Moinho da Juventude (Youth Mill), began the project as part of their long term committment of preserving and promoting the culture of this com-munity. Working with Youth Mill, the objective was to prepare young adults for jobs or for creating their own business initiatives.

Participants collaborated in the development of a project that re-sulted in a proposal and design for building much needed benches and trash containers from repurposed wood shipping pallets. The benches and trash containers placed in the main neighborhood square. With the aim of spreading the project, IKEA-like directions were created and published online and the web site stamped on every bench. Other neighborhoods have continued to design and build urban furniture as a result of this initiative.

2015-2017

Participatory art, codesign workshop, urban furniture, communication design, video with sound, video stills

+ SUL

António Gorgel Pinto in

collaboration with Paula Reaes Pinto, the Aga Khan Foundation Portugal social technicians/advisers and neighborhood residents

+ Sul worked with residents of two government housing projects in Oe-iras on the outskirts of Lisbon, Por-tugal. These neighborhoods have been disenfranchised by their mi-nority immigrant status and the devaluation of their occupational skills. Beginning from the partici-pants’ unique labor activities, skills, and knowledge, we brainstormed ideas for communicating something unique about each of their heritages. After energetic dialogs and much experimentation, we used hand cut linoleum blocks to print unique cultural expressions and symbols onto fabric which was then made into shoulder bags. Eight diferent African cultures were represented among the bags, which were dis-played and sold in the community. The project gave the neighborhood an opportunity to show their talent, industriousness, and potential for contributing to the larger culture.

2017-2018

Participatory art, codesign workshop, visual poetry, wood and linoleum block printing, sewing, video with sound, photography, video stills

PRACTICES THAT BUILD

THEMSELVES, BOTH

ARTISTIC AND COMMUNAL

Hugo Cruz

Artistic Director, Cultural Programmer, Researcher

Paula and António’s body of work goes beyond what you see in this ex-hibition. Looking at these diverse and complex works requires us to dive into the dense layers that constitute us as humans and as collectives that organize toward a quest to be more. In this way, this text will always, and only, be a fragile, parcellar and rel-ative look at the profound nature of the processes that inspire us to cre-ate in alternative ways, questioning the current normative modes of art production.

These works emerge from a con-crete reality, the Portuguese one, full of contradictions and diversities, in dialogue with both artists’ poetic and ethical sensibilities. In a world fraught with multiple impasses, it is important to see the powers sur-rounding our daily social, economic, cultural and environmental crises that tell us there are no solutions. As several examples in history reveal to us, it is in times like these that par-ticipatory art practices gain a new breath. In times of disbelief, of a sup-posed civic and political crisis of par-ticipation, of persistent attacks on democracy and citizenship, we must direct our attention to the emergence of new and inspiring political conig-urations and to artistic actions that connect us to each other and our cit-izenship. It is also important to con-sider participatory art practices as a diverse set of ways of doing, with

very diferent levels of participation, from the manipulative to the pro-moter of autonomy. However, there are some commonalities in these di-verse approaches to process. These include the relationship between the artists and communities involved, the spaces of creation/presenta-tion and access to them, the topics covered and how they are identiied and implemented, and the predom-inant orientation of the process and/ or outcome.

In the course of my research on par-ticipatory art I have been identify-ing as recurrent the perspective that gives priority to community-based artistic practices, considering the various aspects of such practices and the greater quality of participation of all involved, regardless of their functions. The community-based art designation takes on a double mean-ing that is inscribed with two chal-lenges. First, how can these creative processes integrate a community scheme based on horizontality, sense of belonging, common space, integration, satisfaction and emo-tional connection? Second, how can this community logic assume itself as a genuine alternative mode of art production to our current hierarchal system of artistic creation?

Community-based art practices are deined as a ield that integrates action and thinking based on par-ticipation in a process of collective artistic creation, which is triggered by cultures, identities, histories, tra-ditions, people and the communities felt needs, that when approached through art set the base for diferent poetics (Cruz, 2015). In these sim-ultaneously artistic and communal processes we look for the develop-ment of a critical view of the past as well as a state of play regarding the

present and a projection toward the future. It is crucial to consider com-munity involvement in all phases as well as both the community exper-ience and the artistic quality of the processes, taking into account who determines these and how. In line with Bishop’s thinking “both art and the social are not to be reconciled or collapsed, but sustained in continual tension” (2011, p.6). This connection is unavoidable and it is airmed even before art tries to deny this relation (Rancière, 2005). The maintenance of this tension strengthens the par-ticipatory, the heterogeneity, the re-interpretation of channels for change and the network collaborations that are the strategies of resistance to be considered in an analysis by the art of the present. The projects that Paula and António propose to us, along with their co-builders, contribute to this relection on contemporary artistic practices.

In Portugal, as elsewhere, com-munity-based art practices are growing dramatically in numbers and scope. Some of the Portuguese proposals assume themselves as re-signiications of remarkable ex-periences developed in the post-re-volution period (April 25, 1974). Following the revolution, which brought an end to one of the longest dictatorships in southern Europe and a devastating colonial war, the situ-ation required experimenting with alternate considerations of the rela-tionship between the “self” and the “other”. The post revolution period was followed by Portugal’s integ-ration into the European Union and the consequences of the establish-ment of strong market logic. In 2011, the Portuguese request for support to the IMF and the European Union followed the severe economic

break-downs in Ireland and Greece. The Portuguese government implemen-ted a series of austerity measures unprecedented in the country’s short history as a democracy, with very signiicant impacts on the larger population, especially the most dis-advantaged.

Several of the works from this exhib-ition relect much of this recent his-tory. The diferences and inequalities between the rural and the urban, the viewpoints of immigrants and their children from Portuguese-speaking African countries, the aging of the population, the lack of preparation for the future of today’s Portuguese youth, and the degradation of the country’s traditional productive forces (ishing, canneries), are all key themes in Antonio and Paula’s prac-tice. In these art works, there is a con-sistent efort to strengthen the work: the cross between rural and urban contexts; the diversity of artistic lan-guages with a strong concern for the communities involved and not vice versa; and the intergeneration per-spective. It is also relevant that labor as an element of human existence is often at the center of a project. The space of daily labor may have the po-tential to be greatly fulilling in life but one can also question the central role that it assumes in contemporary societies and rehearse other ways of relating to this dimension of life. What provokes instigation in these works is that, in addition to being pertinent and sensitive, they are ne-cessary because they relect urgency and desire and project another pos-sible reality, a future that we can build today.

BISHOP, Claire. Participation and spectacle: Where are we now?. Lecture for Creative Time’s Living as Form. 2011.

CRUZ, Hugo (Coord.). Arte e comunidade. Lisboa: Fundação Calouste Gulbenkian, 2015.

RANCIÈRE, Jacques. Estética e política: A partilha do sensível. Porto.

CREATIVE PRACTICES

AROUND THE PRODUCTION

OF CORK

Paula Reaes Pinto in collaboration with António Gorgel Pinto

The human, geophysical, and eco-logical layers of Azaruja, Portugal are all visible through the cork labor activities of the region.

Here we organized a participatory project engaging several genera-tions of villagers to play roles as designers. We irst documented the process of extracting cork from trees. Each tree can only be harvest-ed every seven years. Next we met with workers and tool fabricators to learn about their jobs. We also vis-ited a small family cutlery business and several local cork processing factories. As part of the process we recorded many life stories. Later we collectively settled on the idea of creating a unique cork food contain-er to market online.

Through socially engaged projects like this one we’ve learned that a productive social group like that of Azaruja gets its resilience from knowing and using their collective memory to build a sense of belong-ing and of attachment to communi-ty values that leads to cultural sus-tainability.

2015

Participatory art, audio interviews, video with sound, video stills, pinhole photography workshop